Happy Music Monday, you all. This collection celebrates another recently departed great, Wayne Shorter. He was a giant of jazz for six decades. He was a well-regarded improviser, bandleader, composer, and thinker.
From his teen years with Art Blakey and Miles Davis to his work as a founder of Weather Report, to leading his own landmark quintet Shorter was among the greatest.
A well-known figure on the jazz circuit since the late 1950s, Shorter would go on to take a strong hand in shaping much of 20th Century jazz music.
The 12-time Grammy award winner played alongside several greats, including Carlos Santana, Steely Dan, Joni Mitchell, and Herbie Hancock.
In 1964 he was swooped away after several attempts by jazz legend Miles Davis to become part of Davis’ “Second Great Quintet.”
Wayne Shorter would also release solo albums by 1959, including the acclaimed Speak No Evil, Night Dreamer, and JuJu.
Among the dozen Grammy awards he won, Shorter received a Lifetime Achievement award in 2015
In 2018, Shorter received the Kennedy Center Honors Award from the John F. Kennedy Center for the Performing Arts for his lifetime of contributions to the arts.
Hope you enjoy the collection. As usual, stay safe, sane, and kind. See ya next month!
No fooling, in the U.S. April 1st denotes the start of Jazz Appreciation Month (aka “JAM”), where the art form born out of Congo Square in New Orleans became a unique and true African American and American musical expression that continues to evolve across the decades and centuries.
Started by the Smithsonian Museum of American History in 2001, “JAM is intended to stimulate and encourage people of all ages to participate in jazz – to study the music, attend concerts, listen to jazz on radio and recordings, read books about jazz, and more.”
To hear our Drop about it, press PLAY:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Friday, April 1st, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
No fooling, April 1st in the United States also kicks off Jazz Appreciation Month. It’s a time to savor the musical gumbo first cooked up in early 20th century New Orleans by master chefs including Jelly Roll Morton, Sidney Bechet, King Oliver, and Louis “Pops” Armstrong.
During the 1930s and ‘40s, bandleaders such as Lionel Hampton, Chick Webb, Count Basie and Duke Ellington swung the nation and defined the sound–as did singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Billy Eckstine.
Dizzy Gillespie, Charlie Parker, Miles Davis, Thelonious Monk, Charles Mingus and John Coltrane were the vanguard through the 1950s and 60s, leading to the free jazz of Ornette Coleman, Taj Mahal, the Jazz Messengers and today’s pot stirrers Kamasi Washington, Esperanza Spalding and MacArthur “genius” Cecile McLorin Salvant.
To quote Wynton Marsalis, the most famous trumpet player in modern times and the managing and artistic director of Jazz at Lincoln Center:
“Jazz is the nobility of the race put into sound; it is the sensuousness of romance in our dialect; it is the picture of the people in all their glory.”
Links to these sources and more are provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro beats provided by freebeats.io and produced by White Hot.
“Dippermouth Blues” by King Oliver’s Jazz Band and composed by Oliver and Louis Armstrong is used with permission under Public Domain.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
You might know about Hattie McDaniel, Sidney Poitier or Halle Berry being the first Black recipients of Oscars in their respective acting categories, but have you ever wondered who were the first in all the others? Writing? Producing? Hair and Make-Up? Sound?
Today’s GBN Daily Drop podcast is a bonus episode for Sunday, March 27 — the day the 94th Academy Awards ceremony are being held — that takes note of every Black Oscar first:
You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website.
SHOW TRANSCRIPT:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a bonus daily drop of Good Black News for Sunday, March 27th, 2022, based on the format of the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
The 94th Academy Awards ceremony is being held today and with Will Packer producing, Wanda Sykes and Regina Hall among the hosts and Will Smith, Denzel Washington, Aunjanue Ellis and Questlove among the nominees, I thought I’d take a brief look at the talented Black people in film who were the first in their category to ever win an Oscar.
The very very first was Hattie McDaniel, who won in the Best Supporting Actress category for the 1939 film Gone With The Wind.
In 1948, actor James Baskett received a special Academy award for his characterization of Uncle Remus in Song of the South, but the next to win an award in competition was Sidney Poitier in 1963, who won Best Actor for his role in Lilies of the Field.
It took almost a decade after that for the next win, which was Isaac Hayes in the Original Song category for 1971’s “Theme from Shaft.”
[Excerpt from “Theme from Shaft”]
Up next 11 years later was Lou Gossett, Jr. for his Best Supporting Actor win in 1982 for An Officer and a Gentleman.
[Excerpt of “The Beautiful Ones”]
In 1984 Prince won Best Original Song Score for Purple Rain, and he was the first and last Black person to win in that category because after 1984, it was retired as a category from the Academy.
Contrary to popular belief, Prince didn’t win for the actual song “Purple Rain” — the Original Song Oscar that year went to Stevie Wonder for “I Just Called to Say I Love You” from the film The Woman in Red.
[Excerpt of “I Just Called To Say I Love You”]
The following year, in 1985, jazz titan Herbie Hancock took home the Oscar for his Original Score for ‘Round Midnight.
And jazz kept the Gold Guys a coming – in 1988 Willie D. Burton accepted the Best Sound Oscar for his and his team’s work on the Charlie Parker biopicBird, and in 1994, though nominated for several of his scores, the Oscar that Quincy Jones brought home was the Jean Hersholt Humanitarian Award.
In 2001, Halle Berry won the Best Lead Actress Oscar for her work in Monster’s Ball, and 2009 saw Roger Ross Williams win for Best Documentary Short Subject for Music By Prudence and Geoffrey Fletcher won for Best Adapted Screenplay for Precious, which was based on the novel Pushby Sapphire.
In 2012, T.J. Martin won for Best Documentary Feature for Undefeated, and in 2013, Steve McQueen shared his Best Picture Oscar with his producing partners for 12 Years A Slave.
In 2017, NBA legend Kobe Bryant won in the Best Animated Short Film category for Dear Basketball, and Jordan Peele won in the Best Original Screenplay category for Get Out.
The following year, Peter Ramsey won an Oscar in the Animated Feature Film category for co-directing Spider-Man: Into the Spider-Verse. 2018 also saw Ruth Carter win in the Costume Design category for her work on Black Pantherand Hannah Beachler for Production Design for the same marvel of a movie directed by Ryan Coogler.
And for 2020, Travon Free won in the Best Live Action Short Film category for Two Distant Strangers, and Mia Neal and Jamika Wilson took home Oscars in the Make-Up and Hairstyling category for Ma Rainey’s Black Bottom.
This has been a bonus daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Beats provided by freebeats.io and produced by White Hot. And any additional music included is done so under Fair Use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com,Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
Happy Memorial Day, you all. I also need to acknowledge the 100th anniversary of the Black Massacre in Tulsa, Oklahoma.
Last week included the 95th anniversary of the birth of Miles Davis. His hometown of East St. Louis, Missouri was the site of another race massacre in 1917.
So much has been written about Miles Davis. Including is his own autobiography. There have been documentaries long and short about him, so I won’t go on.
At over 10 hours this collection is still the tip of the proverbial iceberg when it comes his creative output. Miles was a giant in American music, and one of this nation’s most iconic and influential figures in music and culture.
In a career that spanned five decades, he kept at the forefront of many major stylistic developments in jazz. From being of the vanguards of bebop and blazing the trail of electric jazz.
The list of his collaborators is far too long, but here are just a few: Dizzy Gillespie, John Coltrane, Charlie Parker, Cannonball Adderley, Max Roach, Gil Evans, Red Garland, Paul Chambers, Philly Joe Jones, Sonny Rollins, Bill Evans, Ron Carter, Herbie Hancock, Tony Williams, Wayne Shorter, John McLaughlin, and Joe Zawinul.
Miles Davis gave many of these now-legendary artists, who all appear on this playlist, their first break. Davis was tough as nails from all reports, though he seemed more than willing to imbue great vulnerability and tenderness in his playing.
Hello, again! Here’s a collection of Black composers of film music. There are a few iconic songs from films included here, but the playlist is mainly devoted to scores.
As usual, this is a varied group of artists. They come from Jazz (Herbie Hancock and Duke Ellington), popular music (James Brown, RZA and Pharrell Williams), Rock (Barry Adamson), and of course, Classical ( Michael Abels and Kathryn Bostic).
Stevie Wonder told us with his very first hit, ‘Fingertips,’ recorded when he was 12, that he was a harmonica master. Somehow, through all the genius songwriting, singing, production and keyboard innovation, we tend to forget about those harmonica skills.
But Stevie hasn’t.
His unmistakable harmonica blowing is right there, easy to find in such Stevie favorites throughout his career including ‘I Was Made to Love Her,’ ‘Isn’t She Lovely,’ ‘For Once In My Life,’ ‘That Girl,’ ‘We Can Work It Out,’ ‘Boogie On Reggae Woman,’ and even 1990s gems like ‘Treat Myself.’
Although he does play that Hohner Chromonica often on his own records, Wonder actually seems to utilize his harmonica skills most frequently as a means to collaborate with other artists.
From the 1960s to today, he’s played harmonica as a guest session man on over 150 songs from other artists. That’s more than 10 whole albums worth of additional Stevie-infused material!
To celebrate that part of Stevie’s career, today’s GBN Month of Stevie playlist is entitled “The Wonders of Stevie’s Harmonica,“ where we’ve amassed every Stevie Wonder harmonica guest appearance that we could find on Spotify into one huge list.
You’ll find a few famous hits – Chaka Khan’s ‘I Feel For You,’ Elton John’s ‘I Guess That’s Why They Call It The Blues,’ Sting’s ‘Brand New Day,’ R&B classics from DeBarge’s ‘Love Me In A Special Way’ to Jermaine Jackson’s smash ‘Let’s Get Serious’ (which Stevie also wrote and produced). And one of my personal favorites, the Eurythmics #1 UK hit ‘There Must Be An Angel (Playing With My Heart).’
And though he hasn’t released a full album of new work since 2005, Stevie Wonder has stayed relevant to the charts through these harmonica-based collabos. That’s Stevie’s harmonica on Drake’s ‘Take Care’ album – the #1 album of 2012.
He appears twice on the Mark Ronson 2015 album that contained the #1 song of that year, “Uptown Funk.” And just last year, that was Stevie’s harmonica again on rapper Travis Scott’s chart-topping album “AstroWorld.”
But going on Stevie Wonder’s harmonica journey through music takes you to more than just the top of the charts. One of the special things about being Stevie – a sonic force for nearly 60 years – is his wide-ranging love of music across all genres and generations, and his ability to play with all those people.
(photo via youtube.com)
While many associate the harmonica mostly with blues and folk sounds, Stevie takes the instrument to new places. To be expected, his harmonica is present in the work of his Motown compatriots from the Supremes to the Temptations to Smokey Robinson.
But he’s also played with the finest in rock music (Paul McCartney, James Taylor), popular standards (Barbra Streisand, Tony Bennett), world music (Sergio Mendes, Djavan), jazz (Robert Glasper, Herbie Hancock, Dizzy Gillespie), pop (NSync, 98 Degrees, Mariah Carey), hip hop (Drake, Snoop Dogg) and gospel (BeBe Winans, Andrae Crouch). (Stevie, of course, has also ventured into Broadway, but the version of Rent’s ‘Seasons of Love’ with his contributions isn’t available on Spotify. But you can hear it here.)
The list closes with another personal favorite, this one from Stevie’s own catalog – his harmonica infused take on the classical holiday piece ‘Ave Maria’ – written in 1825 and sung primarily by opera singers through the centuries.
The 45-second harmonica solo here is simple and majestic, and completely at home within a classical music space, something I think only Stevie Wonder could achieve with this instrument.
Come take a ride on Stevie’s harmonica highway – and listen out for that unmistakable sound. As with most musical adventures, we hope you will find something unexpectedly nice along with way.
Special thank you – assembling this playlist wouldn’t have been easily possible without the massive amounts of information on the fan website www.steviewonder.org.uk .
GBN Contributor Marlon West is back again this week with his excellent curation of a sub-genre known as “Soul Jazz.”
In Marlon’s words:
“Heavily influenced by funk, gospel, and R&B, Soul Jazz emerged in the late 1950 and ‘60s. Artists like Jimmy Smith, Shirley Scott, and Art Blakey were not going to take the popularity of soul music laying down. They created music designed for jukeboxes of the time, and is still endlessly sampled and influential today.”
Roy Hargrove, a virtuoso trumpeter who became a symbol of jazz’s youthful renewal in the early 1990s, and then established himself as one of the most respected musicians of his generation, died on Friday in Manhattan. He was 49.
His death, at Mount Sinai Hospital, was caused by cardiac arrest brought on by kidney disease, according to his manager, Larry Clothier. He said Mr. Hargrove had been on dialysis for 13 years.
Beginning in his high school years Mr. Hargrove expressed a deep affinity for jazz’s classic lexicon and the creative flexibility to place it in a fresh context. He would take the stock phrases of blues and jazz and reinvigorate them while reminding listeners of the long tradition whence he came.
“He rarely sounds as if he stepped out of a time machine,” the critic Nate Chinen wrote in 2008, reviewing Mr. Hargrove’s album “Earfood” for The New York Times. “At brisk tempos he summons a terrific clarity and tension, leaning against the current of his rhythm section. At a slower crawl, playing fluegelhorn, he gives each melody the equivalent of a spa treatment.”
In the late 1990s, already established as a jazz star, Mr. Hargrove became affiliated with the Soulquarians, a loose confederation of musicians from the worlds of hip-hop and neo-soul that included Questlove, Erykah Badu, Common and D’Angelo. For several years the collective convened semi-regularly at Electric Lady Studios in Manhattan, recording albums now seen as classics. Mr. Hargrove’s sly horn overdubs can be heard, guttering like a low flame, on records like “Voodoo,” by D’Angelo, and “Mama’s Gun,” by Ms. Badu.
“He is literally the one-man horn section I hear in my head when I think about music,” Questlove wrote on Instagram after Mr. Hargrove’s death.
Even as he explored an ever-expanding musical terrain, Mr. Hargrove did not lose sight of jazz traditions. “To get a thorough knowledge of anything you have to go to its history,” he told the writer Tom Piazza in 1990 for an article about young jazz musicians in The New York Times Magazine. “I’m just trying to study the history, learn it, understand it, so that maybe I’ll be able to develop something that hasn’t been done yet.”
In 1997 he recorded the album “Habana,” an electrified, rumba-inflected parley between American and Cuban musicians united under the band name Crisol. The album, featuring Hargrove originals and compositions by jazz musicians past and present, earned him his first of two Grammy Awards.
His second was for the 2002 album “Directions in Music,” a live recording on which he was a co-leader with the pianist Herbie Hancock and the tenor saxophonist Michael Brecker. That album became a favorite of jazz devotees and music students trying to envision a future for acoustic-jazz innovation.
In the 2000s, Mr. Hargrove released three records with RH Factor, a large ensemble that built a style of its own out of cool, electrified hip-hop grooves and greasy funk from the 1970s.
He held onto the spirit that guided those inquiries — one of creative fervor, tempered by cool poise — in the more traditionally formatted Roy Hargrove Quintet, a dependable group he maintained for most of his career. On “Earfood,” a late-career highlight, the quintet capers from savvy updates of jazz standards to original ballads and new tunes that mix Southern warmth and hip-hop swagger.
Run D.M.C. will receive a GRAMMY Lifetime Achievement Award alongside Earth, Wind & Fire, Herbie Hancock and Jefferson Airplane (Michael Ochs/Getty)
Run-D.M.C. are among the artists who will receive a Lifetime Achievement Award from the GRAMMYs this year. The iconic rap group will be honored at a ceremony and concert to be held this spring. In addition to naming the Queens rappers, the Recording Academy also announced it will honor Ruth Brown, Celia Cruz, Earth, Wind & Fire, Earth, Wind & Fire, Jefferson Airplane and Linda Ronstadt with the award.
“I just got a call from the Grammys!! They shocked me!! We’re the first rappers to get this award!!,” Rev Run tweeted. “Shocked! Grateful!. God is good!! I’m so honored to be a #GRAMMYs Lifetime Achievement Award recipient this year. Thank you to the recording Academy!”
The trio – comprising Rev Run (given name Joseph Simmons), Darryl McDaniels (D.M.C.) and Jason Mizell, who performed as Jam Master Jay – blended their defining style of rap with hard rock elements and jazz touches, which gained them popularity both on the pop and R&B charts and paved the way for many rap groups to follow.
In 2002, following the group’s tour with Aerosmith and a year after the release of Crown Royal, Jam Master Jay was murdered during a studio session in Queens. In the wake of the tragedy, Run and DMC officially disbanded the group. The surviving members have since performed together, including for their reunion in 2012 at Fun Fun Fun Fest.
Though Run-D.M.C. have never previously won a GRAMMY, they were the first rap collective to be nominated for Best R&B Vocal Performance in 1986 before the rap category had been formed, according to FADER.
The 58th Annual GRAMMY Awards will air on CBS on February 15th at 8 p.m. ET. article by Althea Legaspi via rollingstone.com
Jazz Luminary Herbie Hancock (Photograph by Guillaume Laurent/Wikipedia)
World-renowned jazz musician and composer Herbie Hancock has been named Harvard University’s 2014 Norton Professor of Poetry. Hancock will give six lectures this spring on topics that include “The Wisdom of Miles Davis,” “Breaking the Rules,” “Cultural Diplomacy and the Voice Of Freedom,” and “Innovation and New Technologies.”
“It is a great privilege to welcome Herbie Hancock as the Norton Professor,” said Homi Bhabha, Rothenberg Professor of the Humanities and Director of the Mahindra Humanities Center, which is hosting the lectures. “His unsurpassed contribution to the history of music has revolutionized our understanding of the ways in which the arts transform our civic consciousness and our spiritual aspirations. It would be no exaggeration to say that he has defined cultural innovation in each decade of the last half-century.”
Born on April 12, 1940, in Chicago, Hancock grew up in a family that wasn’t particularly musical, according to Biography.com. At the age of seven he began studying European classical music, which continues to influence both his playing and composing. At the same time, he was influenced by jazz pianists like George Shearing, Oscar Peterson, and Erroll Garner. As a young teenager, he was playing Mozart with the Chicago Symphony Orchestra. As a member of the Miles Davis Quintet (which he joined in 1963), Hancock performed on dozens of albums and established a reputation as an outstanding composer who explored genres outside traditional jazz, ranging from fusion to R&B to hip-hop.
Hancock has also provided scores for a number of TV and film projects, including Bill Cosby’s Fat Albert cartoon series and an accompanying album, as well as for the movies Death Wish (1974), A Soldier’s Story (1984), and JoJo Dancer, Your Life Is Calling (1986). He won an Academy Award for the score to ‘Round Midnight (1986); his other honors include 14 Grammy Awards, including Album Of The Year for River: The Joni Letters.
To learn more about Black Academy Award winners and nominees, read 
His unmistakable harmonica blowing is right there, easy to find in such Stevie favorites throughout his career including ‘I Was Made to Love Her,’ ‘Isn’t She Lovely,’ ‘For Once In My Life,’ ‘That Girl,’ ‘We Can Work It Out,’ ‘Boogie On Reggae Woman,’ and even 1990s gems like ‘Treat Myself.’
Beginning in his high school years Mr. Hargrove expressed a deep affinity for jazz’s classic lexicon and the creative flexibility to place it in a fresh context. He would take the stock phrases of blues and jazz and reinvigorate them while reminding listeners of the long tradition whence he came.
In 1997 he recorded the album 
